Ref.9962
Antique Louis XVI pierglass with pomychrome stucco decoration representing garlands of flowers

This beautiful antique Louis XVI style overmantel mirror was made during the 19th century. The polychrome stucco decor spreads predominantely over the upper part of the mirror with a double floral wreath decorated with ribbons.

Ref.2611
Antique Napoleon III style fireplace made out of scagliola painted in Portor marble imitation

This rare antique fireplace was made in the 19th century. The shapes and curves, together with the ornamentation identify this Louis XV style fireplace as one reinterpreted by the eclecticism of art under Napoleon III. Made in scagliola, this fireplace imitates Portor, one of the most sought after types of marble in the world.

Ref.10837
Anatole J. GUILLOT (1865-1911) (after) - « Young oriental woman», Important figural torchère in polychrome spelter

Anatole J. Guillot (1865-1911), french sculptor of the second half of the 19th century, exhibits at the Salon of French Artists of 1887, a Young Moorish woman (n°4063), plaster bust, of which here is an edition forming a figural torchère. The Young oriental, in polychrome spelter, is representing a young oriental woman veiled , holding in her left hand a torch. It is signed on the back of the terrace J. GUILLOT, and, on the front, a plate bears the mention « Salon de 1887 ». Anatole Jean Guillot (1865 – 1911) is a french sculptor and ceramist of the 19th century. Admitted to the National School of Fine Arts of Paris, he becomes the pupil of the sculptors Alexandre Falguière, 1st Grand Prix of Rome in 1859, and Jean Gautherin. He exhibited at the Salon from 1887 to 1911. This Young oriental is therefore a work of early carreer. Anatole J. Guillot, has endeavored to render the physiognomy as much as the costume of his model in all their particularism and details. He has shown great skill in handling details (hairstyle, drapery, accessory), the delicacy of facial features and this, especially thanks to the work of polychromy. By its subject, a young Moorish woman, this sculpture belongs to the Orientalist movement. Initiated in the late 18th century, the expansion of the orientalist movement in the 19th century is linked to the historical and political context, and in particular the upheavals experienced by the Orient throughout the century, with the expansion of European colonialism and the slow collapse of the Ottoman Empire. The term " Orientalism " designating both the scientific interest for the East and the fascination exercised by this land on the Western countries, was expressed in a literary and artistic movement (painting, sculpture, decorative arts). Like other contemporary sculptors such as Eugène Léon L’Hoëst (1874-1937), Louis Hottot (1834-1905), or Henri-Joseph-Charles Cordier (1827-1905), Anatole J. Guillot strives to depict the Orient, though he has never been there. The artist has indeed made several sculptures with orientalist subjects. Among these favorite topics : Moorish soldiers, Kabyle hunters, Water carriers, Oriental product traders... We can thus mention : a Young oriental woman with jug, a Kabyle fighter, or an Arab standing up. However, Anatole J. Guillot can not be entirely considered as an " Orientalist sculptor " because he has not devoted his entire career to the representation of Oriental subjects. With its remarkable finesse of execution as well as the richness and quality of its polychrome decoration, this superb sculpture is characteristic of the orientalist works of art realized by Anatole J. Guillot.

Ref.18365
A pair of giltbronze mounted Sea Green marble covered vases with Egyptian women

Pair of covered vases made in green marble decorated with a rich ornamentation of gilt bronze such as: seed topping the lid ; handles with draped young Egyptian girls, their bodies turning into foliated scrolls ; friezes of plants and pearls ; palms and a dentate frieze on the pedestal base.

Ref.03142
CARRIER BELLEUSE Louis Robert, Extraordinary vase with Urania , science allegory.

Large ovoid stoneware vase on its tripod base with decoration in high relief made of glazed stoneware. This vase has a wide collar on which unfolds a farandole of lovers having fun with the Moon in a heavenly backdrop of stars and clouds, as an allegory of the day and night.During the night, one of the lovers escapes from the mouth of the personified Moon, while another clings strongly to it. The opposite side, another comforts the Moon who cannot shine during the day.The body of the vase also has a continuous backdrop of flowers and foliage narrating two main stages from Mythology: Urania admiring the stars and the awakening of Aurora.In a setting of ancient remains of balustrades and ionic columns, the muse Urania studies the sky using her telescope and strongly holds her globe with love, while one of her disciples, an Ouranie, takes notes on her speech.The Aurora is voluptuously lying on a bed of flowers and foliage of fields in high-relief, her face still asleep.The entire decor is on a blue background subtly shaded according to whether the scenes take place during the night or day, or when necessary to highlight a character. The harmony of this vase is not only thematic, but also chromatic. Thus, the pedestal with blue ogee curves echoes the night.This vase is presented on a majestic tripod stand with very original decor of upside-down lions, with delicately created coats ranging from beige to dark brown, reflecting the great mastery of their glazes and firings.Lions also rest on a tripod base with finely coiled caryatids endings, the sides decorated with opened shells.This vase is a reflection of the creativity of Carrier-Belleuse, subtly harmonizing his neo-rococo and neoclassical inspirations.It focuses on the description of the complicated rendering of the atmosphere of heaven, floating edges of drapery, hair which frames faces. To acknowledge the reality of the details, he cut the clay still wet, after completing the general form.In the tradition of his father, he pursued his theory that was based on the idea of ??applying the human figure to the decorative arts, especially the female figure. His ability to make realistic characteristics on his models gave him great fame.Louis-Robert Carrier-Belleuse (1848-1913) was the son of Albert-Ernest Carrier-Belleuse, of whom he was a student. At the school of fine arts he took lessons taught by Gustave Boulanger and Alexandre Cabanel.In 1877, he acquired from Theodore Deck his first experiences with ceramic.At the 1881 exhibition, he won the prize for best painter, then for the best sculptor in the 1889 exhibition.He designed some models for the Choisy-le-Roi pottery and was its artistic director.Among his works: The National Monument of Costa Rica, A Little Curious at the Museum of Rochefort, The Little Chimney Sweeps, Bearers of flour at the Petit Palais Museum (1885). His works are also kept at the Dahesh Museum, New York; Museum of Art and Archaeology, Moulins, France and the Musée d'Orsay, Paris.

Ref.11296
Napoleon III cabinet bottom, Louis XV style

This cabinet bottom was made in the 19th century. It opens with three doors, including a central glass door. The top is made of Fleur de Pêcher marble. Ornaments of chased and gilded bronze. Beautiful cabinetmaking work with wood veneer symmetrically, playing on the game of lines and veins of wood.

Ref.11450
Rudolf ERNST (1854-1932) - Portrait of a high-ranking Austro-Hungarian dignitary

This extraordinary portrait was painted by Rudolf Ernst according to a very particular and very innovative technique. It is indeed painted porcelain including a metallic mesh. The work depicts, on an ocher background, an elderly man, with a long white beard and bushy eyebrows. His gaze - a bluish gray - is fixed on the spectator. Richly dressed, he wears an emerald green velvet doublet embellished with brown fur at collar, armholes and sleeves. These velvet sleeves open on a beautiful gilded fabric (probably silk) puffed on the upper part and tightening above the elbow. He wears a green velvet hat with exposed lapels covered with fur. All these elements indicate the rank of the man represented: no doubt he is a high dignitary or a member of the Austro-Hungarian nobility. In the present state of our research and according to our knowledge, it is difficult for us to give a date to this work but it could have been exhibited at the World’s Fair of 1889 during which the artist was awarded a bronze medal. Rudolf Ernst is a French-Austrian painter. Born in Vienna in 1854, his father was a painter and architect. He was a member of the Vienna Fine Art Academy where Rudolf Ernst entered as a student in 1869. In 1874, he left the Academy to complete his training in Rome before moving to Paris in 1876. He exhibited regularly, after 1877, at the Salon of French Artists, realizing, at first, genre scenes and portraits. He travels to Spain, Morocco and Turkey, where he paints portraits of Ottoman characters from the royal court. His orientalist paintings are the best known part of his work. He devoted himself to Orientalism in 1885, creating interiors of mosques or harems, chess players, hookah smokers and even beautiful odalisques. Particularly productive in the 1890s, Ernst was successful and received a bronze medal at the World's Fair of 1889 and a medal of honor at the World’s Fair of 1900. From his trip to Constantinople in 1890, he learned how to improve his production of earthenware tiles, a technique he had learned in Paris from Léon Fargue, a ceramist and glassmaker. His faience tiles are not only orientalist: he includes characters from the Commedia dell'Arte or the Renaissance. However, these works are of a reduced format, unlike our portrait which dimensions and technique reveal a particularly rare work.

Ref.4596
Louis XVI style fireplace made of Carrara marble with friezes of pearls

This beautiful Louis XVI style fireplace was made of Carrara marble in the late 19th century. Its curved jambs and its straight entablature are adorned with delicate friezes of pearls that come underline its edges. Its entablature also bears on each corner two beautiful roses, characteristic of the Louis XVI style.

Ref.4675
Directoire style mantel with columns in wood painted as a trompe l'oeil of Antique Green marble

This Directoire style mantel was made in the 20th century in wood covered with painting imitating the Antique Green marble. Its jambs taking the shape of Ionic columns with gilded capitals, support a straight slab.

Ref.13832
Louis Majorelle, japanese style display cabinet

Ref.14697
Louis-Philippe period billiard table with marquetry

Magnificent billiard table made during the Louis-Philippe period in wood and gilded bronzes. It is decorated with a light wood marquetry on a dark background representing numerous small scenes and a set of circular gilt bronze rosettes all around.

Ref.5100
Exceptional Napoleon III period mantel in veined Carrara marble, adorned with a rich décor of palmettes and arabesques.

Ref.14505
Fonderie Fumière & Co, Rococo pink marble lamp with gilded bronze masks, circa 1906-1926

This lamp in pink marble and gilded bronze was created at the beginning of the 20th century, between 1906 and 1926. The bronzes were executed by the Fumière and Co foundry, successor to the famous Thiébaut foundry. An art foundry from 1851, the Thiébaut company collaborated with some of the most renowned artists (David d’Angers, Carpeaux, Falguière, Carrier-Belleuse, and Gustave Doré, among others) throughout the 19th century. At the beginning of the 20th century, it was notably taken over by Fumière, who used the name “Thiébaut Frères, Fumière & Co successor” between 1906 and 1926, allowing us to date our lamp to this period. The base of this lamp, in pink marble and gilded bronze, follows the decorative arts tradition under the reign of Napoleon III (1852-1870). At the lower part, the shapes, with their curves and counter-curves, as well as the leaf and shell motifs, are inspired by rocaille art; higher up, the straight shaft and neoclassical ornamentation recall the Louis XVI style, while the mascarons, like the base, echo the art practiced under the reign of King Louis XV. At the top, the bulb holder is particularly sleek. The high quality of the bronze chiseling and the beauty of the marble contribute to the elegance of this exceptional lamp.